triumph, and still more secure in the goodness of her cause. "A hundred times in life," she declares, "the good that one does seems to serve no immediate purpose; yet it maintains in one way and another the tradition of well wishing and well doing, without which all would perish." At the outset of her career we compared her with Shelley. In her last phase, she reminds us rather of the authors of Far from the Madding Crowd and The Mill on the Floss, and of Wordsworth, once, too, a torch of revolution, turning to his Michaels and his leech-gatherers and his Peter Bells. Her exquisite pictures of pastoral life are perhaps idealizations of it; her representations of the peasant are not corroborated by Zola's; to the last she approaches the shield of human nature from the golden side. But for herself at least she has found a real secret of happiness in country life, tranquil work, and a right direction given to her own heart and conscience.
It is at about this point in her spiritual development that she turns towards Gustave Flaubert—perhaps a little suspiciously at first, yet resolved from the first, according to her natural instincts and her now fixed principles, to stimulate by believing in his admirable qualities. Writing from Nohant in 1866 to him at Croisset, she epitomizes her distinction as a woman and as an author in this playful sally: "Sainte-Beuve, who loves you nevertheless, pretends that you are dreadfully vicious. But perhaps he sees with eyes a bit dirty, like that learned botanist who pretends that the germander is of
